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Welcome to Wynn Fine Art, home to a handful of the most historically significant artworks of the 20th Century. Our gallery features artworks created by true masters, such as Henri Matisse, Pablo Picasso, Andy Warhol, and Fernand Léger, who advanced visual art in unique and lasting ways. To learn more about each artwork, click on the thumbnails below, and please do not hesitate to contact us with any questions.

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Man with a Pipe, 1915 by Pablo Picasso

The year 1915 was a somber one, with the impact of World War One being felt in France and most men joining up, including Georges Braque, who was seriously injured, and fellow painter Andre Derain (1880-1954). Picasso was viewed with suspicion by contemporary society as he was young and healthy yet did not go to fight; in fact he demonstrated considerable ambivalence in his attitude to the war, especially with his obvious close connections to his main art dealer, the Paris-based German, Daniel-Henry Kahnweiler.

However, this large canvas, 130 x 90 cm (52 x 36 in), has a quiet humor and feeling of composure. The use of Pointillist-style dots, with their stippled effect and the inclusion of a painted marble-effect herald Picasso's return to color exploration and his interest in the development of interior design processes. The incorporation of frieze-like techniques, with areas of architectural scrolling, creates a sense of movement to oppose the tension of the solid piling up of the angular blocks. These techniques also connote the curling of smoke from the pipe in the bottom right of the picture. The experimental return to Naturalism filters through in this painting with the half-figurative face, hands and waistcoat fragment, though with comic intent. The artist's sense of humor is apparent in the jigsaw compilations of the face, whose bizarre, textured overlays create the nose, moustache and mouth so that a bird-shape appears. Picasso was moving away from Cubism, as seen in Man with a Guitar (1911). Surrealism was beckoning.

WARHOL, ANDY (American, 1928-1987) - Double Elvis (Ferus Type)

Andy Warhol’s Double Elvis (1963) combines two of the biggest names of the 20th Century, resulting in this
unforgettable work that reverberated across the art world. Revered for his dissection of, and fascination with, fame and
the cultish spectacle associated with celebrity, Warhol is one of America's best-known artists and the leading figure of
the Pop Art Movement. The year before he created Double Elvis, Warhol debuted his iconic Campbell's Soup Cans,
which juxtaposed the hand-painted with the mass-produced.

Standing nearly seven-feet tall and four-feet wide, Double Elvis presents "The King of Rock and Roll" as a gunslinger in
two black images, taken from his starring role in the Western Flaming Star (1960), screen-printed onto a silver
background. Double Elvis, which uses a photo silk-screen process rather than a hand-painted image, represents
Warhol's first time featuring the same overlapping figure, resulting in the illusion that Elvis is moving, according to the
Museum of Modern Art.

A consummate provocateur, Warhol is attributed with proclaiming, "In the future, everyone will be world-famous for 15
minutes." Today, more than 50 years since debuting to the world at the storied Ferus Gallery, in Los Angeles, Double
Elvis stands out as a signature work of Warhol's, as enduring as Elvis, himself.

Musketeer with Sword, 1972 by Pablo Picasso

As Franz Meyer wrote in 1976, "the musketeers Picasso painted after the end of 1966 [form] an extremely heterogeneous group, some of them unkempt fellows, others noblemen."

Musketeer with Sword, is an obvious example of the "unkempt fellow" type. This becomes especially apparent when being comapred with The Musketeer of 1967. While in the previous painting, the baroquesque costume puts one in mind of a seventeenth-century nobleman, whereas in this painting, the clothing is altogether suppressed. The beard is far less neat and curly, and the hair, except for one thick strand, is hidden under the huge, broad-brimmed hat.

This musketeer, his lean body sharpened down, maybe, by incalculable duels, looks a bigger number of contentious than his rotund forerunner, who sits there agreeably established. The sword in his right hand is typical of intensity in every sense, and he holds it up as though in exhibit of this..

Femme Au Chat Assise Dans Un Fauteuil (1964) roughly translates to "woman with a cat sitting in an armchair." Here, Picasso depicts Jacqueline, his wife and muse, with a little black cat the couple had found while walking around their property in Mougins, France.

Painted in May 1964 over a period of days, Femme Au Chat Assise Dans Un Fauteuil is one in a succession of paintings where Picasso employed the motif of the little black cat. Jacqueline, who is nude and seated, looks toward the viewer with the little black cat on her lap. Rather than hiring a model, Picasso frequently used his lovers as models.

"It is characteristic of Picasso, in contrast to Matisse and many other 20th Century painters, that he takes as his model--or as his Muse--the woman he loves and who lives with him, not a professional model," wrote curator Marie-Laure Bernadac.

Pablo Picasso used found wood to create Cigare (1941), one in a series of sculptures that the artist made for his partner and muse Dora Maar during World War II. Measuring about four inches, the charred tip of the painted brown stick of wood mimics a lit cigar, suggesting the act of smoking, which Picasso referenced through paraphernalia, like cigarette boxes and matchbox lids, in other works from this time. While traditionally thought of first and foremost as a painter, Picasso's sculptures received critical acclaim, and offered a unique window into his playfulness and how he investigated new ideas. Picasso's first comprehensive exhibition of his sculptures debuted when the artist was 85-years-old.

PICASSO, PABLO (Spanish, 1881-1973) Homme à l’épée, 1969

Pablo Picasso's Homme à l’épée (1969) is one in a series of paintings that celebrates and challenges reconsideration of the Mosquetero, or musketeer. Created near the end of Picasso's life when the world's most famous artist was 87-years-old, Homme à l’épée depicts one of his Mosqueteros donning the red-and-yellow colors of the artist's native Spain.

For each of these paintings, Picasso was known to assign personal qualities to each Mosquetero. An outspoken anti-war activist, these paintings, which were created as the Vietnam War was going on, initially confounded the public and marked a departure from his other work. Homme à l’épée debuted as part of Picasso Oeuvres 1969-1970 exhibition in Avignon, France.

When taken together with the artist's expansive body of work, as well as the time in which they were made, the Mosquetero paintings show Picasso to be the "radical man of the hour," as one art historian noted.

Fernand Léger, Les Constructeurs Avec Arbre, 1949-1950

Fernand Léger's Les Constructeurs Avec Arbre, 1949-1950 captures the creativity of man in concert with machines, marking the final painting in his
highly-coveted Constructors series. Léger, a French painter whom The Metropolitan Museum of Art hailed as the "quintessential painter of the machine
age," became increasingly interested following World War I in scenes of modern life and the rise of machines. Les Constructeurs Avec Arbre depicts a
construction site with four workers.

Two are talking; one is working; and, one, who historians contend is a stand-in for the artist as a young man, is
looking off into the distance, deep in thought. Léger's painting immortalizes the interplay between man and machine. Moreover, the artwork endures as a
profound statement in the 21st Century when the world faces accelerating automation and lingering questions on the role of workers.

MATISSE, HENRI (French, 1869-1954) Bolero Violet, 1937

Henri Matisse was revered by his peers and the generations of artists who followed for his mastery of color. Boléro Violet (1937), as the title suggests,
features a young woman wearing a violet bolero with her hands resting on top of one another, seated against a brilliant yellow background. Matisse, who
loved painting still lifes as well as nudes, enlisted this model, the daughter of a Russian aristocrat, to sit for a number of his paintings during this time
period.

One of the most important artists in history, Matisse maintained a healthy rivalry with Pablo Picasso, who remarked that to grasp art in the 20th
Century, one needed to see "side by side everything Matisse and I were doing."

WARHOL, ANDY (American, 1928-1987) Superman, 1981

Andy Warhol, the leader and most-celebrated figure of the Pop Art Movement, created Superman (1981) for his Myths Portfolio, a series that appropriated characters from popular culture, the likes of Dracula, Santa Claus, and Uncle Sam. Screen-printed in colors with diamond dust, Superman features the most iconic superhero of the 20th Century, a creation of D.C. Comics. Clark Kent, otherwise known as Superman, was a newspaper journalist by day who saved humanity by night.

Guided by a deep interest in recontextualizing images of mass media, from products like Campbell's Soup to personalities like Marilyn Monroe, Warhol recasts Superman as a reflection of his own personal myth and gives the viewer the space to reconsider the stories that we, as a culture, create and celebrate.

Roy Lichtenstein, one of the most important artists of the Twentieth Century and a principal figure of the Pop Art movement, created Modern Painting with Ionic Column (1967) as his career was firing on all cylinders. The same year of this painting, when the New York-born artist was in his early 40s, Lichtenstein's first museum retrospective debuted at the Pasadena Museum of Art. Modern Painting with Ionic Column, standing more than five-feet tall and stretching nearly seven-feet wide, features signifiers such as abstraction, primary colors, and Ben-Day Dots that captured the art world’s attention and catapulted him into the limelight.

The Ben-Day Dots, of equal size and distribution, evoke the graphic style of comic books and emphasize the idea of mechanical reproduction in visual art. Here, Lichtenstein presents an ionic column, one of the three styles of columns used in ancient Greece, a potential nod to his conviction that all art projected a code or language. “My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world,” he said.

Claude Monet, a founder of French Impressionism and one of the most recognizable names in art history, eschewed the comforts and traditions of the studio in favor of painting outside in the open air, or “en plein air.” Painted after they married in June 1870, Camille assise sur la plage à Trouville (1870-1871) depicts Monet’s wife Camille at the beach in Trouville, France. Camille is seen clutching a parasol as the sun shines down; the wind powering sails in the background. “In painting Camille on the beach,” art historian Robert Herbert wrote in Impressionism: Art, Leisure, and Parisian Society, “Monet was celebrating her as a fashionable vacationer, the kind of offering an impecunious artist can make to his bride.”

Despite the idyllic scenery and the thrill of being newly married, Camille assise sur la plage à Trouville was painted on the precipice of the Franco-Prussian War. Later that summer, Claude, Camille, and their young son Jean, would flee to London, where they remained throughout the war.

Ocean Park, 1985 by Diebenkorn,Richard

Oil and Charcoal on Canvas 100 x 81 inches

(Description Unavailable)

Yellow, Orange, Yellow, Light Orange, 1955 by Rothko, Mark

Oil on Canvas 81 1/2 x 60

(Description Unavailable)

Still Life with Head and Landscape, 1923-1997 by Lichtenstein, Roy

Oil and Magna on Canvas 48 x 40

(Description Unavailable)

Woman Reading, 1980 by Lichtenstein, Roy

Oil and Magna on Canvas 54 x 70

(Description Unavailable)

Mousquetaire a la Pipe, 1968 by Picasso, Pablo

Oil on Canvas 57-7/16 x 38-3/16

(Description Unavailable)

Mousquetaire a la Pipe, 1969 by Picasso, Pablo

Oil on Canvas 76-1/2 x 51

(Description Unavailable)

FEMME AU CHIEN, 1962 by Picasso, Pablo

Oil on Canvas 63 3/4 by 51 1/4 in.

At any given point in Picasso’s life, a veritable menagerie could be found in his home and studio. Dogs of all shapes
and sizes, a variety of felines, doves, a parrot, an owl, a goat—indoors and out of doors these animals would appear,
disappear, reappear. Later in life a bird would drop dead in its cage in the studio at Notre Dame de Vie. Jacqueline,
Picasso’s second wife, would spirit the cage away until a replacement could be found to ensure an ever-present
appearance of life.

The inclusion of a dog as a principal subject has precedent dating back to Picasso's earliest days as an artist. The
titular dog in Femme au chien, his Afghan hound Kaboul, is rendered with clear affection and humor and a nod to
Picasso’s adoration of these creatures. Canines of various sorts are present in Picasso’s works throughout his oeuvre:
the emaciated figures of his Rose Period; his serial reinterpretations of Velazquez’s Las Meninas; and his dachshund
Lump (who he “borrowed” from David Douglas Duncan for many years) along with his Afghan hounds, Kasbek and
Kaboul and his boxer Jan. The importance of dogs to Picasso is particularly evident in his delicate rendering of
Garçon au chien executed in 1905, now a part of the permanent collection at the Hermitage.
Kaboul is not the only protagonist in Femme au chien, as the title suggests. Enthroned in an armchair, the woman
featured in Femme au chien is Jacqueline Roque, Picasso’s beloved second wife who remained with him until his
death in 1973. Picasso’s renderings of Jacqueline constitute the largest group of images of any woman in his life. The
couple met in 1952 at the pottery studio in Vallauris, while Picasso was still living with the mother of his two children,
Françoise Gilot. Unlike Françoise, Jacqueline was accepting of the notoriously temperamental artist and his obsession
with his art. Her unflappable support and willingness to sacrifice herself on the altar of his ego won the artist’s heart.
Picasso married Jacqueline in 1961 and as William Rubin noted, “Jacqueline’s understated, gentle, and loving
personality combined with her unconditional commitment to [Picasso] provided an emotionally stable life and a
dependable foyer over a longer period of time than he had ever before enjoyed” (W. Rubin quoted in Picasso &
Jacqueline, The Evolution of Style (exhibition catalogue), Pace Gallery, New York, 2014-15, p. 190).

The relationship between Jacqueline and Kaboul was apparently very close. Boris Friedwald writes, “As of 1960,
Lump [Picasso’s dachshund] had a new companion, Kaboul, named after the Afghan capital—and rightly so, because
he was an Afghan Greyhound. Jacqueline Roque, whom Picasso had married in 1961, was in love with Kaboul. And
soon the animal, which was to accompany Picasso up to the end of his life, was appearing in several portraits of
Jacqueline Roque. No wonder the features of Kaboul can be subtly traced in her visage” (B. Friedewald, Picasso’s
Animals, New York, 2014, p. 56). To this point of visual similarity between hound and human, Picasso himself
described the difficulty of separating the two in his mind: “Often, if he comes into my mind when I am working, it alters
what I do. The nose on the face I am drawing gets longer and sharper. The hair of the woman I am sketching gets
longer and fluffy, resting against her cheeks just as his ears rest against his head” (quoted in ibid., p. 51). In all,
Picasso would paint six oils of Jacqueline seated with Kaboul. These range from the most fully worked examples
including the present work and Femme et chien sous un arbre, now at The Museum of Modern Art, New York to more
instantaneous, looser compositions where the shape and execution of both Jacqueline and Kaboul is less precise

Unlike many other figural artists who employed professional models or negotiated with strangers and slight
acquaintances to sit for them, Picasso’s figures always revolved around those who inhabited the closes portions of his
personal life “It is characteristic of Picasso,” writes Marie-Laure Bernadac “... that he takes as his model—or as his
Muse—the woman he loves and who loves with him, not a professional model. So what his paintings show is never a
‘model’ of a woman, but woman as model. This has its consequences for his emotional as well as his artistic life: for
the beloved woman stands for ‘painting’, and the painted woman is the beloved: detachment is an impossibility.
Picasso never paints from life: Jacqueline never poses for him; but she is there always, everywhere. All the women of
these years are Jacqueline, and yet they are rarely portraits. The image of the woman he loves is a model imprinted
deep within him, and it emerges every time he paints a woman” (Late Picasso. Paintings, sculpture, drawings, prints
1953-1972 (exhibition catalogue), The Tate Gallery, London & Musée national d’art moderne, Paris, 1988, p. 78). It
was not just the women in his life who dominated his canvases. In his years with Olga, Marie-Thérèe and Gilot their
children with Picasso take pride of place in his artwork. Jacqueline is depicted with the beloved hound Kaboul and,
two years later, in a series of images, both clothed and nude, with their cat. This is not to say the animals take the
place of children in these works—Gilot was depicted with dogs in various instances , but rather belie the
daily surroundings of life and the prime actors within their world at this time.
By 1962, Picasso and Jacqueline had decamped from the increasingly chaotic Villa La Californie in Cannes. After a
brief period of time spent in the too-remote Vauvenargues Castle, near Aix-en-Provence, they settled in Notre Dame
de Vie, a Mas in the town of Mougins, perched in the hills high above the coast. “Notre Dame de Vie,” Gert Schiff
relates, “is a spacious eighteenth-century farmhouse surrounded by cypresses and olive trees, with a view extending
down to the Bay of Cannes. The artist’s wife Jacqueline organized his life for him. She provided him with unlimited
time for his work—and with inspiration” (G. Schiff, Picasso. The Last Years, 1963-1973, New York, 1983, p. 12).
Femme au chien, in its bold use of color, complexity and completeness of composition and monumental scale ensure
that his canvas is one of Picasso’s most evocative portraits of his wife during their years at Notre Dame de Vie and a
masterpiece of the artist’s late period.